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post #12451 of 30393 Old 10-29-2016, 04:46 AM - Thread Starter
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TV/Business Notes (Digital)
Lynch: Sling TV Will Continue to Steer Clear of Big Bundles
By Jeff Baumgartner, Multichannel News - Oct. 28, 2016

With DirecTV Now about to hit the market with a 100-plus channel package starting at $35 per month, the obvious question to Sling TV is how the Dish-owned OTT-TV service will respond.

The short answer: Keep doing what it’s been doing.

“Our strategy was never to create that big bundle of channels,” Roger Lynch, Sling TV’s CEO, said Wednesday in a Q&A that was live-streamed on Twitter’s Periscope platform. “We think that’s a market that’s well-served by competitors like DirecTV or Comcast or even our parent company, Dish Network. Our strategy was to create choice for consumers.”

So, don’t expect Sling TV to move very far off its current core “Orange” and “Blue” packages that sell for $20 and $25 per month, respectively, each (or $40 for both), plus several add-on packages.

“We’re not about providing you with 100 channels. We’re about providing you with flexibility and customization,” Lynch said.

Lynch declined to announce Sling TV sub numbers (the service), but did tout a new Parks Associates study that found that Sling TV had jumped to number six among all subscription OTT services in the U.S., up from the No. 10 spot last year.

“We are really at the transition point of our industry,” Lynch said earlier in the stream, noting that the consumer model is moving toward more control and self-aggregation and that many of the services on the Parks study is complementary to Sling TV. “They might take Netflix and Sling and Hulu or Crunchyroll...depending on their interests.”

“Our objective was never to be the one service that meets all the viewing needs of any individual. We just don’t’ think that model’s viable anymore,” he said. “The viable model is to be an important piece of a puzzle that people put together for their own streaming services. “

Here's a sampling of other topics and questions posed to Lynch during the live-streamed Q&A:

-Will Sling TV add a DVR capability? Nothing to announce yet, but, “We and our engineering teams are always working to add new functionality….We’ve got new stuff coming soon.”

-Will Sling TV add a traditional grid guide? Sling TV initially targeted cord-cutters and a younger demo that’s used to navigating content via a “different paradigm,” he said. But Sling TV is seeing more consumers coming over from traditional pay TV. “I think you’ll see us adapt our new user interface to be more comfortable for …people who came from a traditional pay TV service.”

-On account sharing: “I think sharing is just an inevitable part of this industry,” Lynch said, noting that traditional pay TV providers are arguably more exposed to it because of consumers sharing their TV Everywhere credentials. Sling TV doesn’t encourage the practice, he said. “We don’t think it happens that much, but we’re also not blind to the fact that it does happen.”

-On broadband caps and usage based billing: “I think those are anti-competitive behaviors,” Lynch said. “It’s something that hopefully the regulators will get focused on.”

He also said it’s “unlikely” that Sling TV will someday offer ABC, NBC and Fox live locals on a single $20 package. Though consumers can get those signals for free with an antenna, he noted that live locals are among the most expensive for a pay TV operator to carry. Sling TV Blue has live locals from NBC and Fox in select markets. Sling TV subs, in select O&O markets, can also get ABC via the service’s $5 per month Broadcast Extra add-on package.

http://www.multichannel.com/blog/bau...bundles/408738
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post #12452 of 30393 Old 10-29-2016, 04:51 AM - Thread Starter
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Washington/Technology Notes
Your Internet provider now needs your permission to share data: FCC
By Mike Snider, USA Today - Oct. 28, 2016

New privacy rules passed by the Federal Communication Commission Thursday require Internet service providers to ask permission of their customers to collect and use personal information.

Providers of fixed and mobile broadband will need to get opt-in consent for data such as their consumers' Web browsing history, app usage, health and financial information, children's information, precise geolocation information, and the content of online communications. Customers must also be notified how their information is used and what other parties the Internet service provider shares it with. Other non-sensitive consumer data could be used on an opt-out basis.

"Consumers care deeply about their privacy and so should we," said Commissioner Mignon Clyburn Clyburn, who joined fellow Democrats Commissioner Jessica Rosenworcel and FCC Chairman Tom Wheeler in approving the measure with a 3-2 vote at the agency's monthly meeting.

Wheeler described the adoption of new consumer privacy rules as a "common sense step ... because before today there were no protections."

Consumer privacy over Internet service providers' (ISPs) broadband networks came under jurisdiction of the FCC after last year's net neutrality or Open Internet rules were adopted. That gave the agency the authority to regulate ISPs as "common carriers," akin to how telephone companies have provided landline phone service.

Once broadband providers were classified as common carriers, they were no longer under the Federal Trade Commission's authority. Over the seven-month rule-making process, the FCC attempted to mirror the FTC's privacy framework with a few differences, including what amounts to "sensitive" information, Clyburn says.

The two Republican Commissioners, Ajit Pai and Michael O'Rielly, expressed concerns that the FCC had overreached its authority and confused the issue. For instance, the FCC's privacy rules differ from how the FTC handles the privacy of information collected by Web sites, apps and other Internet destinations. "In creating this disparate system of regulation, (the FCC) is both confusing consumers and likely to create an unlevel playing field," Pai said.

Opt-in requirements could cause consumers to miss out on potential features and developments under the new opt-in requirements, O'Rielly said. "Broadband providers will be reluctant to extend, and may even forgo, valuable offers and discounts that consumers would want for fear," he said.

Consumer advocates hailed the agency's action. Various industry groups assailed it. "Consumers will be bombarded with opt-in notice requirements every time they search online, however innocuous the data they seek might be," said the Association of National Advertisers in a statement. The group said it planned either a court challenge or congressional action to reverse the FCC's rulemaking.

An interagency council including the FTC and FCC should attempt to make privacy rules uniform and consistent, Rosenworcel said. "The forces at work in the digital world today are only going to make privacy more complex for all of us to control," she said.

While the new rules help in the "here and now," Rosenworcel said, "we still have work to do."

The opt-in rules go into effect one year after they are published in the Federal Register, which is likely to occur before the end of the year. Requirements that companies notify users about a data breach go into effect six months earlier.

http://www.usatoday.com/story/tech/n...ules/92822596/
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TV Notes (Cable)
AMC Buys ‘Dietland’ Drama From Marti Noxon & Skydance For Series Consideration
By Nellie Andreeva, Deadline.com - Oct. 28, 2016

In a competitive situation, AMC has landed Dietland, a drama series project from Skydance Television. Written and executive produced by Marti Noxon, the project is based on the 2015 novel by Sarai Walker. AMC is putting it on a straight-to-series track under its model that involves the opening of a writers room for a series production order consideration.

The network has been very bullish on the model, which has elbowed out the traditional pilot process. (AMC has not ordered a pilot since Preacher in 2014.) AMC put three dramas into the straight-to-series pipeline last spring with writers rooms and script orders. Two of them, The Son and Lodge 49, ended up receiving series orders.

Set against the backdrop of the beauty industry, Dietland is part character drama and part revenge fantasy that explore society’s obsession with weight loss and beauty.

The project stems from Noxon’s overall deal with Skydance TV. She will write, showrun and serve as an executive produce alongside Skydance’s David Ellison, Dana Goldberg, and Marcy Ross as well as Maria Grasso of Noxon’s Tiny Pyro, and Bonnie Curtis and Julie Lynn of Mockingbird Pictures.

Noxon also has upcoming HBO drama Sharp Objects starring Amy Adams and Bravo’s Girlfriends’ Guide To Divorce, which is heading into its final seasons. This marks her return to AMC where she did a stint as a consulting producer on Mad Men.

http://deadline.com/2016/10/dietland...tv-1201844578/
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post #12454 of 30393 Old 10-29-2016, 04:59 AM - Thread Starter
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TV Notes (Cable)
Real Time With Bill Maher Finally Snagged an Interview with Obama
By Vulture.com (New York Magazine) Staff - Oct. 28, 2016

If you're a regular watcher of HBO's Real Time with Bill Maher, then you'll know that Maher has long been pleading with — nay, begging for — the sitting President of the United States, one Barack Hussein Obama, to appear on his show before he leaves office. Well, that pleading finally came to fruition.

On tonight's Real Time broadcast, Maher announced that he will interview the President at the White House, and that said interview will air November 4, just days before the next presidential election occurs (aka, the end of our long national nightmare). Famously, Maher petitioned via the official Whitehouse.gov website to get Obama on the show and received the required 100,000 signatures last year; however, it took until now to make it real (time...).

This may be one of the last Obama-as-Prez interviews, so it's worth tuning in even if you are not a fan of Maher's razor-slice way of doing things. After all, a President in his last week in office is the most IDGAF President of all.

http://www.vulture.com/2016/10/real-...ged-obama.html
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post #12455 of 30393 Old 10-29-2016, 05:08 AM - Thread Starter
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TV Review (Streaming)
Amazon’s ‘Good Girls Revolt’
By Sonia Saraiya, Variety.com

It’s almost impossible to consider “Good Girls Revolt,” a workplace drama about women suing for equality in the late ’60s, without recalling AMC’s “Mad Men,” a show that brought the decade to life with gorgeous and resonant style. “Good Girls Revolt” owes much to its predecessor, which is one of the few period shows that actually found a way to make its era feel lived-in, not costume drama. Perhaps without “Mad Men’s” chilling depiction of Peggy Olson’s first day of work, the institutional subordination of women in the workplace would feel like a pesky origin myth — neither relevant nor real — to whole generations of the viewing public. “Mad Men” made that sexism brilliantly inescapable, excavating the past to bear on the present.

The new Amazon Studios drama takes “Mad Men’s” interest in workplace gender dynamics and expands that lens to make it the entire show. “Good Girls Revolt” has created the most evocative illustration of stylish, well-heeled sexism since “Mad Men,” an atmosphere charged with both nostalgia for the era and a reminder of what really went with all the day drinking and bouffants. The drama is based on the real story of how women at Newsweek (changed to the fictional News of the Week, for the show) filed a complaint with the newly formed Equal Employment Opportunity Commission, charging their employers with widespread, institutional gender discrimination. It was for all concerns a lot like what was depicted at Sterling Cooper in “Mad Men”: Women employees were relegated to a very specific role, without opportunity for advancement.

As “Good Girls Revolt” depicts it, the men got bylines while the women did most of, if not all of, the actual work — in the glorified secretary position of “researcher.” The newsroom is unsubtly split-level; the men sit on an elevated platform, while the women crowd together in “the pit,” a half-flight of stairs down. In the wide open room where all of the gossip and drama happens, the gender hierarchy is just a part of the construction. It’s a bit literal, to be sure— but then again, sexism, especially in that era, is a rather blunt tool. The women occasionally discover whole paragraphs of their work lifted straight into a male collaborator’s work, or are forced to do all of the grunt reporting while their reporter makes a few phone calls and then gets all the credit. Some reporters are constantly asking their researchers to go out with them; others joke about waist sizes and bra sizes when considering which “girl” to hire.

It’s breathtakingly punishing. But “Good Girls Revolt” doesn’t rest with establishing the group dynamics; it pursues the individual, complex reporter/researcher relationships, where the imbalance of power becomes a particularly intimate struggle for power and respect between two people who are working partners. At times, the reporter and researcher reach a state of true collaboration, lush with mutual respect and shared sense of mission. But it’s an illusion of equality that rests solely on the male reporter’s sense of goodwill. Professional jealousy, differences of opinion, and perceived or real romantic slights inspire the men to assert their power — sending their brilliant researchers scurrying back to making coffee, gathering rote data, or worst of all, merely continuing to be ignored and overlooked. That so many of these relationships are romantically charged — in situations that are either long-running sexual harassment or breakroom flirtations turned into late-night flings — just reinforces how similar this imbalanced partnership is to the most traditional notion of marriage, where efficiency depends on the woman’s subservience to the man’s name and reputation. “Good Girls Revolt” is not polemical, but in ferreting out the layered ways sexism affects relations between men and women, it is the consciousness-raising that it also seeks to depict.

The show is not perfect. At times, “Good Girls Revolt” can be very smart about the themes of the ‘60s; at others, it can be painfully obvious. (Let’s pledge to never use Buffalo Springfield’s “For What It’s Worth” ever again, shall we?) Aside from the production values, which are pleasantly immersive, the production is serviceable, with just enough talent in the machine to keep everything running smoothly. Grace Gummer (wearing a terrible wig to play Nora Ephron) and a pitch-perfect Jim Belushi are welcome injections of talent. The drama suffers from an overcrowded cast and not much economy of storytelling — mostly because it seeks to make a character drama out of a plot with a clear beginning and end. It takes a couple of hours before lead Patti (Genevieve Angelson) even gets around to first meeting with Eleanor Holmes Norton (Joy Bryant, playing the real-life and still-living legend) of the ACLU.

But with a show that is as much about atmosphere as plot, some sprawl can be forgiven. “Good Girls Revolt” quickly settles into an addictive rhythm, drawing the audience into the unromantic, intimate process of individual radicalization, as women from very different worldviews find themselves agreeing with their colleagues that enough is enough. The show cares about these specific experiences of growth and empowerment — both their triumphs and their missteps. And in depicting young women tasting their independence and sexual power for the first time in New York City, “Good Girls Revolt” presents “Mad Men” with a healthy dash of the freewheeling play of “Broad City” — joints on the coffee table, adventures in birth control, the indignities of periods and peeing, and reading erotica on public transit. The characters are experiencing for the first time the unglamorous grace notes of modern female existence that are still very recognizable today — albeit in what looks to be far less comfortable underwear.

Amazon's ‘Good Girls Revolt’
Drama, 10 episodes (4 reviewed): Amazon, Fri. Oct. 28, midnight. 60 min.


http://variety.com/2016/tv/reviews/g...mp-1201895571/
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post #12456 of 30393 Old 10-29-2016, 05:13 AM - Thread Starter
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TV Notes (Broadcast)
'Will & Grace' Revival in the Works at NBC
By Lesley Goldberg, The Hollywood Reporter's 'Live Feed' Blog - Oct. 28, 2016

September's Will & Grace election-themed reunion apparently served as a big wake-up call for NBC.

The network is in talks to reboot the Emmy-winning comedy starring Eric McCormack, Debra Messing, Megan Mullally and Sean Hayes, The Hollywood Reporter has confirmed. The goal, sources say, is to do a 10-episode limited series revival.

No deals are in place with the four key stars or with creators David Kohan and Max Mutchnick, the latter of whom had the idea to do the September election-themed TV revival. Universal Television, which produced the original series, would have to secure the stars as well as the creators. It's unclear if NBC would air the revival or if the network could get outbid for what is sure to be a pricey series by a streaming giant like deep-pocketed Netflix.

NBC and Universal Television declined comment. Insiders caution it's extremely early in the talks, and it's unclear if a Will & Grace revival could actually happen.

Will & Grace ran for eight seasons and scored 16 Emmy wins out of 83 nominations. All four stars took home Emmy gold for the show about a single woman, her gay roommate and their eccentric friends. In its heyday, the stars earned $600,000 per episode to do the series — on top of points on the back-end. The show remains a hit in syndication. (The series does not have a streaming home.)

In an interview after the election-themed video was released, both Messing — who has a long-standing friendship with NBC boss Bob Greenblatt, dating back to Smash and The Mysteries of Laura — told THR that she would "never say never" about a revival.

"Now there are platforms where you can do six or 10 episodes. I don't believe we would ever come back to network [TV] again," the actress said in comments that may signal a streaming home for the project. "I think that the logistics of all of our lives — there would just be way too many things to hammer out. But for something shorter-lived and maybe having the limitations of being on network TV lifted may give us a fun, fresh opportunity because we could be really, really naughty!"

For his part, McCormack said there was no official talk of a revival during the two days it took to film the reunion video, though he seemed open to it.

"As for the future, everyone — from Max and David on down — is so protective of the show and how we ended it," he said. "We're very proud of the series finale and the story that told of the break that friendships sometimes take. So to play with that and change that story and change our own stories in life, I'm sure we would all be open to talking about it."

The reunion was Mutchnick's idea. The sets were stored at Emerson College in Boston, where they had been housed for the past 10 years but needed to be moved. He transported the sets to the show's original studio and had them reassembled. James Burrows, who directed every episode of the series, returned to helm the viral video that now has more than 6 million views.

Reboots continue to remain in high demand as broadcast, cable and streaming outlets look for proven IP in a bid to cut through a cluttered scripted landscape that is quickly approaching 500 original series. Key to the remakes is having the original producers involved in some capacity as more studios look to monetize their existing film libraries. Netflix, for its part, has the highly anticipated Gilmore Girls revival due in November and has already revived series such as Full House, Arrested Development and even the film Wet Hot American Summer. For NBC's part, the network last season rebooted Heroes — with a largely new cast and some returning favorites — that crashed and burned.

Already in the works this season are reboots of Sneakers (NBC), Enemy of the State (ABC), Dynasty (The CW), War of the Worlds (MTV), Magnum P.I. (ABC), The Lost Boys (The CW), Varsity Blues (CMT), The Departed (Amazon), Let the Right One In (TNT) and L.A. Law, though the latter does not yet have a network attached.

http://www.hollywoodreporter.com/liv...-at-nbc-941776
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post #12457 of 30393 Old 10-29-2016, 05:19 AM - Thread Starter
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Technology/Business Notes (Analysis)
Why Vine died
By Casey Newton, TheVerge.com - Oct. 28, 2016

The thing about Vine becoming the internet’s premiere tool for making short-form videos is that it happened almost completely by accident. Its founders had envisioned their tool for making 6-second clips as a way to help people capture casual moments in their lives and share them with friends. It was part of their pitch to Twitter, which bought the company for a reported $30 million in October 2012, seeing it as a near-perfect video analog to its flagship app’s short-form text posts.

And yet even before the app launched, users had taken the 6-second constraint as a creative challenge. Something about that loop — the way a Vine endlessly rewound itself after completing, like a GIF with audio — encouraged people to put the app to strange uses. “It was surprising,” said Dom Hofmann, who founded Vine with Rus Yusupov and Colin Kroll four months before Twitter bought it. “Our original beta had something like 10 or 15 people on it, and even with that small group we started to see experimentation pretty early on.”

Within weeks, it appeared that Vine probably would never become the everyday video sharing tool its founders had envisioned. Instead it became something wilder — and much more culturally interesting. “It became pretty clear as soon after we launched,” Hofmann said. “Watching the community and the tool push on each other was exciting and unreal, and almost immediately it became clear that Vine’s culture was going to shift towards creativity and experimentation.”

On Thursday, the experimentation came to an end. With its own future increasingly uncertain, Twitter said it would shut down Vine’s mobile app some time in the next few months. And while existing Vines will remain on the web, a media format that had become beloved for its versatility now appears headed the way of Betamax.

Interviews with seven former executives reveal a portrait of a company whose cultural impact far outstripped its strategic benefits to Twitter. Working a continent apart from their parent company, Vine’s small, New York-based team struggled to grow its user base or find ways to make money. While Vine once boasted a commanding lead over other social video apps, it failed to keep pace as competitors added features — something that ultimately drove its biggest stars away. The app generated more beloved memes and cultural moments than most apps with twice as many users — but Twitter’s mounting core business problems this year all but ensured it would eventually be sold off or shuttered.

Ian Padgham saw the potential in Vine — both creative and monetary — before almost anyone. As a member of Twitter’s marketing team in 2012, he was responsible for making videos that explained how the service worked. (His early film about working at Twitter is likely one of the most-watched recruiting videos ever made.) After Twitter bought Vine, he sat in on meetings with the marketing team and began to explore its potential as a creative tool.

Padgham’s first Vine was a simple time-lapse video of the view from his window at Twitter. He loved the 6-second limit, which forced him to think differently about storytelling. “It’s kind of like drawing in Microsoft Paint,” he said. “It used to be the worst app ever, but you couldn’t get distracted by the bells and whistles.”

Padgham began making Vines every day before he left for work, and they soon grew both in popularity and in ambition. He cut out 300 photo prints and spent three hours painstakingly turning them into a tribute to Eadweard Muybridge, a photographer who did pioneering work in motion pictures. He stood underneath Big Ben and recorded a time lapse of himself appearing to move the hands of the clock with his fingers, a loop that was viewed more than 5 million times. Soon brands like Sony and Airbnb were contacting Padgham asking him to make Vines on their behalf, and six months after Vine launched he quit Twitter to do it full time.

In 2013, Vine began allowing users to record clips with their phones’ front-facing cameras, and usage exploded. An ecosystem of young stars sprung up around the service, which evolved into a kind of live-action cartoon network. There was Zach King, whose eye-popping magic tricks earned him 4 million followers and more than 1.4 billion views. Or Amanda Cerny, whose physical comedy earned more than 2.2 billion views. Logan Paul, whose Vines looped more than 4 billion times, parlayed his following into a series of acting roles — while earning $200,000 to create a single Vine for a brand, according to a recent 60 Minutes report.

In a 2014 look at how video platforms were creating the next generation of celebrities, The New Yorker put Vine at the center. “A Vine’s blink-quick transience, combined with its endless looping, simultaneously squeezes time and stretches it,” Tad Friend wrote. The app generated countless memes, and grew increasingly self-referential over time, so that a single 6-second clip might reference a dozen previous hit Vines. And yet in retrospect it seems clear that 2014 was when Vine peaked. Research firm 7Park Data says 3.64 percent of all Android users opened Vine in August 2014; today that number has fallen to 0.66 percent. (Twitter never said how many people used Vine, but once claimed it had an audience of 200 million people on the web.)

Former executives say that a major competitive challenged emerged in the form of Instagram, which introduced 15-second video clips in June 2013. “Instagram video was the beginning of the end,” one former executive told me. “[Vine] didn’t move fast enough to differentiate.” Instagram courted celebrities with longer videos, eventually bumping the limit to a more flexible 60 seconds. (Vines didn’t break the 6-second barrier until earlier this year, and its extended videos never caught on.) Instagram also began promoting celebrity accounts in its popular “explore” tab, bringing them attention that Vine found difficult to match. Marketers began shifting their money away from Vine, and stars followed.

Meanwhile Snapchat, which allowed users to send each other 10-second video clips and (later) broadcast them publicly, ultimately became the casual mass-market lifecasting app that Vine’s founders had once pitched their product to Twitter as. When other platforms surged ahead, some Vine stars began negotiating to be paid to post on the service. But the talks stalled, and by May the Washington Post found that Vine users with large followings were sharing new videos much less frequently.

At the management level, Vine was rarely stable for long. Hofmann quit in 2014 to pursue a new startup. Kroll followed him out the door later that year. Twitter laid off Yusupov, who was Vine’s creative director, as part of last year’s mass layoffs. (“Don’t sell your company!”, he tweeted on Thursday.) Jason Toff took over Vine in 2014 and led it for two years before quitting this year to work on virtual reality projects at Google. Hannah Donovan became general manager in March after working at a series of music startups. Her lack of previous experience running a company led some employees I spoke with to question whether her hiring might be the beginning of the end.

Years of executive churn likely contributed to Vine’s failure to make money. For a while, brands were happy to pay Vine stars directly to make ads and share them to their millions of followers. But after Snapchat and Instagram grew into hundreds of millions of daily users, marketers’ interest in Vine dropped significantly. They had once longed for ways to grow their own followings on the app — through paid placement offerings similar to Twitter’s promoted tweets and promoted accounts.But Vine never came through with any options, in part because the founders resisted monetization from the start, sources said. It never took a cut of stars’ deals with brands, although Twitter bought a social media talent agency last year in hopes it could begin to do so indirectly.

By this year, Twitter executives were discussing ways to bring Twitter’s various video offerings together somehow, sources said. In June, the company held discussions about absorbing Vine into Twitter’s flagship app. To Vine employees, those discussions served as evidence that Twitter never valued Vine as a standalone property the way its audience did. But no Vine integration ever materialized, and this summer top Vine executives began heading for the exits. Twitter explored selling the app, according to the New York Times, but it never found a buyer.

“A couple of things plagued Vine, and it all stems from the same thing, which is a lack of unity and leadership on a vision,” said Ankur Thakkar, who was Vine’s head of editorial from 2014 until May of this year. He told me he was proud of the work the app did to highlight rising stars, including Ruth B, who earned a record deal after his team gave her a coveted “editor’s pick” award. But by the end the company was rudderless, he said. “That trickled down into all of the project teams and the things they were working on,” he said. “Vine didn’t ship anything of consequence for a year.”

The stars who grew famous on Vine continue posting their work on other platforms. But they’re no longer pushing the surprisingly elastic boundaries of the 6-second medium. “The most important of part of Vine has always been the people that are on it,” Dom Hofmann told me. “It’s also the only part that can’t be replicated. So I’m going to miss them. Even though I can and do follow some people from Vine on Instagram or Snapchat or Twitter or wherever they’ve decided to go, it just doesn’t feel the same. It’s like the band is breaking up and everyone’s going solo.”

http://www.theverge.com/2016/10/28/1...itter-shutdown
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post #12458 of 30393 Old 10-29-2016, 05:29 AM - Thread Starter
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TV Notes
On The Air Tonight
SATURDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Late night shows are preceded by late local news)
From Zap2it.com's TV Grid - Oct. 29, 2016

ABC:
8PM - College Football: Clemson at Florida State (LIVE)

CBS:
8PM - Hawaii Five-0
(R - Oct. 23, 2015)
9PM - Criminal Minds
(R - Mar. 2)
10PM - 48 Hours: Bad Boy

NBC:
8PM - Dateline NBC: In the Dead of the Night (120 min.)
(R - Dec. 19, 2014)
10PM - Saturday Night Live (Tracy Morgan hosts; Demi Lovato performs)
(R - Oct. 17, 2015)
* * * *
11:29PM - Saturday Night Live (Margot Robbie hosts; The Weeknd performs; 93 min.)
(R - Oct. 1)

FOX:
8PM - 2016 World Series, Game 4: Cleveland Indians at Chicago Cubs (LIVE)
* * * *
11PM - MLB on Fox Postgame Show (LIVE)
11:30PM - Son of Zorn
(R - Oct. 16)

PBS:
(check your local listing for starting time/programming)
8PM - Austin City Limits: Iggy Pop

UNIVISION:
8PM - Fútbol Mexicano Primera División: Tigres UANL vs. CF Monterrey (LIVE)
10PM - Fútbol Mexicano Primera División: CD Guadalajara vs. Cruz Azul FC (LIVE)

TELEMUNDO:
6PM - Movie: Kung Fu Panda 2 (2011)
8PM - Movie: Apocalypto (2006)

BBC AMERICA:
9PM - Dirk Gently's Holistic Detective Agency (Series Premiere, 76 min., LIVE)
10PM - The Graham Norton Show (Tom Cruise; Cobie Smulders; Jude Law; Catherine Tate; Kings of Leon performs)


http://tvschedule.zap2it.com/tvlisti...aid=tvschedule

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TV Sports
College Football Saturday Schedule
By lsufootball.net Staff

SATURDAY, OCT. 29:

TEAMS : / TIME (Central Time): / NETWORK(S):


--Duke at Georgia Tech / 11:00 am / FSN Affiliates, ACC-RSN, WatchESPN (blackouts)
--Elon at Albany / 11:00 am / SNY, CSCA *4, ASN (cable), Video
--Kansas State at Iowa State / 11:00 am / FSN Affiliates, FSGo Video
--Kent State at Central Michigan / 11:00 am / CBSSN, CBSSN Video
--Kentucky at Missouri / 11:00 am / SECN, WatchESPN
--Louisville at Virginia / 11:00 am / ABC, espn3 or ESPN2, WatchESPN (reverse mirror)
--Michigan at Michigan State / 11:00 am / ESPN, WatchESPN, espn3 Skycam
--Minnesota at Illinois / 11:00 am / BTN, BTN2Go Video
--Penn State at Purdue / 11:00 am / ABC, espn3 or ESPN2, WatchESPN (reverse mirror)
--NAIA: Peru State at Graceland / 11:00 am / ESPN Extra, espn3
--UCF at Houston / 11:00 am / ESPNU, WatchESPN
--UConn at East Carolina / 11:00 am / ESPN News, WatchESPN
--Wagner at UMass / 11:00 am / NESN+, CSNC+, espn3, ASN (.pdf affiliates)
--DII: West Chester at East Stroudsburg / 11:00 am / ESPN Extra, espn3, Sports Fever Net (cable)
--West Virginia at Oklahoma State / 11:00 am / FOX, FSGo Video
--Princeton at Cornell / 11:30 am / OWS, $ILDN Video, Facebook
--DII: Seton Hill at Edinboro / 2:00 pm / ESPN Extra, espn3
--South Dakota State at Illinois State / 2:00 pm / ESPN Extra, CSNC, espn3
--Western Illinois at South Dakota / 2:00 pm / ESPN Extra, espn3, Video
--ESPN GoalLine / 2:00 pm / ESPNGL, WatchESPN
--Army at Wake Forest / 2:30 pm / FSN Affiliates, ACC-RSN, WatchESPN (blackouts)
--Baylor at Texas / 2:30 pm / ABC, espn3
--Cincinnati at Temple / 2:30 pm / CBSSN, CBSSN Video
--Florida vs. Georgia (Jacksonville) / 2:30 pm / CBS, CBS Video
--Maryland at Indiana / 2:30 pm / ESPNU, WatchESPN
--Miami at Notre Dame / 2:30 pm / NBC (available in 4K on DirecTV), NBC Video
--Miami Ohio at Eastern Michigan / 2:30 pm / CSNC+ *4, ASN (cable), espn3
--Montana at Eastern Washington / 2:30 pm / RSRM, RSNW, DTV: 601, RSSW *4
--Northwestern at Ohio State / 2:30 pm / ESPN, WatchESPN
--DII: Pittsburg State at NW Missouri State / 2:30 pm / ALT, NCAA Video, ASN (cable)
--Samford at Mississippi State / 2:30 pm / SECN, WatchESPN
--Texas Tech at TCU / 2:30 pm / ESPN2, WatchESPN
--Towson at Delaware / 2:30 pm / SNY, CSCA *4, CSN (.pdf cable), Video
--Washington at Utah / 2:30 pm / FS1, FSGo Video
--Western Kentucky at Florida Atlantic / 2:30 pm / MASN, CSBA *4, ASN (.pdf affiliates), $CUSA Video
--SMU at Tulane / 3:00 pm / ESPN News, WatchESPN
--Arizona State at Oregon / 4:00 pm / PAC-12 Network, PAC-12 Video
--Abilene Christian at McNeese State / 6:00 pm / MASN2, ASN (.pdf affiliates), SLC Video
--Boise State at Wyoming / 6:00 pm / CBSSN, CBSSN Video
--Kansas at Oklahoma / 6:00 pm / FS1, FSGo Video
--Louisiana Monroe at Arkansas State / 6:00 pm / ESPN Extra, espn3
--Marshall at Southern Miss / 6:00 pm / MASN, CSBA *4, ASN (.pdf affiliates), ASN Video
--Nebraska at Wisconsin / 6:00 pm / ESPN, WatchESPN, Command center, espn3 Skycam
--North Dakota State at Northern Iowa / 6:00 pm / ESPN Extra, espn3, NBC ND (cable), PSN (cable)
--Auburn at Ole Miss / 6:15 pm / SECN, WatchESPN
--Tennessee at South Carolina / 6:15 pm / ESPN2, WatchESPN
--New Mexico State at Texas A&M / 6:30 pm / ESPNU, WatchESPN
--Clemson at Florida State / 7:00 pm / ABC, espn3
--Tulsa at Memphis / 7:00 pm / ESPN News, WatchESPN
--UNLV at San Jose State / 9:30 pm / CBSSN, CBSSN Video
--Washington State at Oregon State / 9:45 pm / ESPN2, WatchESPN, espn3 Spanish
--Stanford at Arizona / 10:00 pm / FS1, FSGo Video

Games online only or not yet scheduled for nationally available networks.

--Alabama A&M vs. Alabama State / 3:00 pm / espn3
--Austin Peay at SEMO / 1:00 pm / OVC Video
--Boston College at North Carolina State / 11:30 am / ACC Network, Video, WatchESPN (blackouts)
--Bryant at Duquesne / 11:00 am / NEC Video
--Bucknell at Charleston Southern / 10:45 am / Big South Video
--Butler at Valparaiso / 1:00 pm / espn3
--Cal Poly at Sacramento State / 8:00 pm / Big Sky Video
--Campbell at Drake / 1:00 pm / Video
--CCSU at Robert Morris / 11:00 am / NEC Video
--Central Arkansas at Southeastern Louisiana / 2:30 pm / espn3
--Chattanooga at Western Carolina / 2:30 pm / SoCon Video, (WMYA and WFLI) (cable)
--Coastal Carolina at Presbyterian / 1:00 pm / Big South Video
--Eastern Illinois at Jacksonville State / 2:00 pm / espn3
--Eastern Kentucky at UT Martin / 2:00 pm / OVC Video
--ETSU at The Citadel / 1:00 pm / espn3
--Fordham at Lehigh / 11:30 am / PLN Video, SE2 (cable)
--Furman at VMI / 12:30 pm / espn3
--Gardner Webb at Liberty / 2:30 pm / Big South Video
--Georgetown at Lafayette / 11:30 am / PLN Video, LSN (cable)
--Georgia State at South Alabama / 4:00 pm / espn3
--Holy Cross at Colgate / 12:00 pm / PLN Video
--Houston Baptist at Lamar / 6:00 pm / espn3
--Indiana State at Youngstown State / 3:00 pm / espn3
--Kennesaw State at Monmouth / 12:00 pm / espn3
--Maine at William & Mary / 2:30 pm / CAA Video
--Mercer at Wofford / 12:30 pm / espn3
--Middle Tennessee at Florida International / 6:00 pm / espn3
--New Mexico at Hawaii / 11:00 pm / Oceanic PPV (no other broadcasts)
--Nicholls State at Northwestern State / 6:00 pm / espn3, WHNO (cable)
--North Texas at UTSA / 6:00 pm / KMYS-CW 35 (cable), $CUSA Video
--Northern Colorado at Portland State / 4:30 pm / Big Sky Video
--Northern Iowa at North Dakota State / 6:00 pm / espn3, NBC ND (cable)
--Old Dominion at UTEP / 7:00 pm / $CUSA Video, $CSLive Video
--Prairie View at Jackson State / 2:00 pm / CST (cable), Livestream Video
--Rhode Island at James Madison / 2:30 pm / CAA Video
--Rice at Louisiana Tech / 6:00 pm / CUSA Video, Twitter Video
--Saint Francis at Sacred Heart / 11:00 am / NEC Video
--Southern Illinois at Missouri State / 2:00 pm / espn3
--Southern Utah at Idaho State / 3:30 pm / Big Sky Video
--Stephen F Austin at Incarnate Word / 12:00 pm / Video
--Stetson at Dayton / 12:00 pm / Video, TWCOH (cable)
--Stony Brook at New Hampshire / 11:00 am / ?Video?
--Tennessee State at Murray State / 3:00 pm / OVC Video
--Texas Southern at Sam Houston State / 6:00 pm / espn3
--DII: Valdosta State at Florida Tech / 6:00 pm / espn3
--Weber State at North Dakota / 1:00 pm / Big Sky Video, Midco (cable)
--DII: William Jewell at Indianapolis / 5:00 pm / espn3


*4: blackout.
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post #12460 of 30393 Old 10-29-2016, 12:36 PM
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TV Notes (Broadcast)
Making History Episode Order Cut at Fox
By Kimberly Roots, TVLine.com - Oct. 28, 2016

Fox won’t be making as much Making History as it originally thought.

The network has cut the midseason comedy’s episode order from 13 to nine, TVLine has learned exclusively.

Executive-produced by Last Man on Earth EPs Phil Lord and Chris Miller, the potential series centers on three friends who find a way to travel through time in search of truth, justice, and riches, which complicates their lives in 2016. They visit some of the greatest moments of the past as they try to resolve their personal problems, while history and pop culture comically collide. Adam Pally (Happy Endings) and Leighton Meester (Gossip Girl) star.

We’re hearing that the decision to trim the comedy’s order is based on the network’s scheduling needs: Given new and returning series, only nine installments of Making History are needed to fill out the spring slate.

Earlier this week, ABC cut the episode order for its struggling drama Notorious from 13 to 10.

http://tvline.com/2016/10/28/making-...ode-order-cut/
They are probably also noticing what goes on across the pond where 6 and 8 episode series are common and often more than a year between seasons giving producers time to flesh out rich episodes. Americans with access to some of these shows via Netflix, Hulu and even some of the cable networks are trending to prefer quality over quantity.
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TV Notes
On The Air Tonight
SATURDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Late night shows are preceded by late local news)
From Zap2it.com's TV Grid - Oct. 29, 2016

* * *


BBC AMERICA:
9PM - Dirk Gently's Holistic Detective Agency (Series Premiere, 76 min., LIVE)
10:16PM - The Graham Norton Show (Tom Cruise; Cobie Smulders; Jude Law; Catherine Tate; Kings of Leon performs)


http://tvschedule.zap2it.com/tvlisti...aid=tvschedule
Actually, 9pm-10pm Dirk Gently's Holistic Detective Agency, S1 E2 Lost and Found
10pm-11pm The Graham Norton Show (guest list correct)


(I had watched Dirk Gently's Holistic Detective Agency premiere last weekend.)

My very humble setup:
Spoiler!
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post #12462 of 30393 Old 10-30-2016, 06:04 AM
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They are probably also noticing what goes on across the pond where 6 and 8 episode series are common and often more than a year between seasons giving producers time to flesh out rich episodes. Americans with access to some of these shows via Netflix, Hulu and even some of the cable networks are trending to prefer quality over quantity.
I can guarantee with 100% certainty that has nothing to do with it.


What it has to do with is, unlike in season's past, they've always needed replacement shows to plug in empty holes caused by cancellations. They haven't needed that this season so far.
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post #12463 of 30393 Old 10-30-2016, 06:21 AM
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Washington/Technology Notes
Your Internet provider now needs your permission to share data: FCC
By Mike Snider, USA Today - Oct. 28, 2016

Opt-in requirements could cause consumers to miss out on potential features and developments under the new opt-in requirements, O'Rielly said. "Broadband providers will be reluctant to extend, and may even forgo, valuable offers and discounts that consumers would want for fear," he said.

http://www.usatoday.com/story/tech/n...ules/92822596/
This is always the argument they make, and it's bogus.


I have never missed out on any crap being sent to me as a result of lack of information sharing. In fact, the opposite is true: I hate all the crap that gets sent to me that is supposedly targeted, but fails to have anything to do with me at all.


Everything should be opt-in, not opt out:


- No more calling people unless they want to be called. It's my phone. I'll give you the number if I want you to call me. That includes the vinyl siding company that kept calling me when I lived in an apartment building.....made of brick.
- Stop appending crap software onto downloads. I'm looking square at you Adobe, who should ashamed for engaging in that BS. I don't want to install McAfee on my system. I don't want your toolbar. I don't want to make your web page my home page. I don't want Ask.com on my system.
- I do not want to receive emails from "a carefully selected set of offer providers". I don't want your newsletter. I don't want to be sent special offers and information about new products.
- I don't want to complete a survey (you don't want my answers if you bother me to do so). I don't want to submit a review.
- I don't want to have to uncheck options in reverse order to avoid having stuff install themselves even when I thought I opted out.


People are tired of being marketed to every single second of their lives. That's why there is so much backlash over ads. Advertisers have literally killed any hope people will ever want to hear their message by being so far in people's faces that their brains are being poked.


Further, we need a law that says companies must delete all evidence you existed as a customer after you haven't been a customer for, say, 2-3 years (unless there is a collections claim or some other legal dispute). I got caught up in the Blue Cross insurance hack because I had them as my provider some 20 YEARS AGO. Why did they even still have my records on their system? It's not like they wouldn't have to completely update them if I went back after all these years. Thankfully, almost everything has changed with my information since then, so it limits what they can do with the information - which is precisely why it should have been purged years ago.


That goes for credit cards, too. How many people got a Lowes, Home Depot or Staples credit card in order to get a discount on a purchase then never used it again? After 2 years of no activity on the account, the credit company should have to inquire in writing if the customer still wants to keep the card. If they don't respond in 60 days, the card gets cancelled with no penalty to the customer on their credit report.


In addition, we need to stop using social security numbers for everything. When you apply for credit for the first time, the credit agencies issue you a credit ID number from a pool they share. When you get health insurance, you get an insurance ID number. When you get a job, you get an employee ID and a tax ID number. Those are the numbers you use for those related items, not your social security number. When you change health providers, you get a new number. When you get a new job, you get a new employee ID. If your tax records are stolen, you use the most recent employee ID number and a few other bits of data to request a new one. Social security numbers are for social security. That's all they should be for. Now that everything is connected and online and searchable, the days of a single, nearly unchangeable ID number have to end.

Now, if we could just do something about survey pop-ups, flash ads that cover content you can only close after a delay and video ads that autoplay with loud audio. Plus, I think it should be required that ads are the last items that load on a page so I don't end up stuck on a blank page when the ad server craps out and nothing else will load until the ads do.

Last edited by NetworkTV; 10-30-2016 at 06:39 AM.
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I'll put you down as "undecided" on data sharing.
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TV Sports/Nielsen Overnights (Broadcast)
World Series Ratings: Most Watched Game 3 In 12 Years
By Dominic Patten, Deadline.com - Oct. 29, 2016

Even the best vocal efforts of Bill Murray couldn’t propel the Chicago Cubs to a World Series Game 3 victory at Wrigley Field last night. The Cleveland Indians’ 1-0 in the first World Series game at Wrigley in 71 years was a home run for Fox though.

Easily winning Friday for the first time this season, the network saw Game 3 score a 12.4/22 in metered market results, up 10% over Wednesday’s Game 2 in the metered markets and the best any World Series Game 3 has done since 2005. That game, featuring the Chicago White Sox’s extra-innings victory over the Houston Astros on Tuesday, October 25, 2005, drew a 13.1/23.

In fast-affiliate numbers, Friday’s Game 3 scored a 4.4/17 rating among adults 18-49 with 17.3 million viewers. That’s up a whooping 42% over the 2015 World Series Game 3, when the New York Mets beat the Kansas City Royals 9-3 on October 30 last year — also a Friday. There may be adjustments in those numbers later, but in MM results the 2016 Game 3 is up 36% over 2015 and 53% over the third game over a lackluster 2014 World Series.

As for the rest of the night, several shows took a bit of a loss facing the World Series, while others stayed even. The exception for CBS being was the ever-sturdy Blue Bloods (1.1/4), which was even with its October 21 episode in the key demo. Lead-ins MacGyver (1.0/4) and Hawaii Five-O (1.0/4) were down a tenth and two-tenths, respectively, from last week.

Starting off with another It’s The Great Pumpkin, Charlie Brown (1.0/4) repeat, ABC saw Shark Tank (1.1/4) and 20/20 (0.7/3) down 15% and up 22%, respectively, against the ballgame. In its second week of its second season, the CW’s Crazy Ex-Girlfriend (0.2/1) stayed the same as last week’s soft premiere on its new night. Lead-in The Vampire Diaries (0.4/1) also was seemingly unaffected by the World Series and even with last week’s final season debut. Over on NBC, Caught On Camera With Nick Cannon (0.6/2) was the same as last week, while Dateline: NBC (0.9/3) was down a tenth.

With Cleveland now leading the best-of-7 series 2-1, today’s Game 4 in Chicago has a lot riding on those bases.

UPDATE, 2:38 PM: With the Cleveland Indians leading the 2016 World Series 2-1, there’s a lot riding on tonight’s Game 4 for the Chicago Cubs. For Fox, this year’s World Series is already delivering little but wins and now the net has hit a 12-year viewership.

With the final numbers in, last night’s 1-0 win by Cleveland over Chicago in the Windy City snagged 19.4 million viewers. That’s the best any Game 3 has done since the Boston Red Sox bear the St. Louis Cardinals 4-1 on October 24, 2004, a Tuesday. Looking at last year’s Game 3 viewership, last night’s game was up 47%

See ya at the ballpark this afternoon.

http://deadline.com/2016/10/indians-...ox-1201845065/

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TV Sports/Nielsen Overnights (Broadcast)
World Series Dips in Game 4, Still Pacing as Best in 7 Years
By Michael O'Connell, The Hollywood Reporter's 'Live Feed' Blog - Oct. 30, 2016

The prospects of a seven-game World Series may be dimming, but Fox Sports has the comfort of airing baseball's most-watched games in seven years.

Following a whopping spike on Friday night, Saturday's Game 4 of the World Series brought another Cleveland Indians win and continued ratings dominance for the network. In overnight returns, the 7-2 win over the Chicago Cubs averaged a 10.5 rating among metered market households. That's below the previous three overnights but still up 13 percent from the comparable outing last year for a Game 4 — and another best since 2009.

The dip from the previous three nights came in the face of several college football match-ups.

This World Series, a welcome relief from the lows of the last five years, is averaging 18.7 million viewers through the first three games. That number, already up 27 percent from the first three games of the 2015 World Series, will be adjusted when final returns for Saturday's game come in.

Prior to last night's game, the series high came in on Friday night. It marked the most-watched Game 3 since the record-breaking 2004 World Series between the Boston Red Sox and the St. Louis Cardinals. Overall, this year's World Series is pacing more in line with the 2009 World Series, which averaged 19.4 million viewers over six games. That's the last time a World Series averaged anywhere near the 20-million mark.

The Chicago Cubs have a chance to rally on Sunday night. They'll trot out pitcher Jon Lester for the first time since Game 1 in hopes of preventing Cleveland from walking away with the title.

For Fox, Game 5 of the World Series faces its biggest ratings competition yet. Coverage has to face both Sunday Night Football on NBC and AMC's The Walking Dead.

http://www.hollywoodreporter.com/liv...7-years-942345
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TV Notes (Cable)
‘People of Earth’ offers the alienated a comic close encounter
By Rob Lowman, Los Angeles Daily News - Oct. 28, 2016

Turns out, a Beverly Hills hotel lounge is not the best place to conduct an interview with Wyatt Cenac and Ana Gasteyer.

The two are here to talk about their new TBS comedy series, “People of Earth,” but even before the first question has been asked they’ve been stopped by a number of people who want to wish them well or just say hello, like comedian-actor Bill Hader.

“People of Earth” is about a respected journalist, Ozzie Graham (Cenac), who goes to a small town in upstate New York to do a story on a support group run by Gina Morrison (Gasteyer) for people who claim that they have been abducted by aliens.

Even after writing the story, Ozzie remains skeptical, but his editor loves it and wants him to write more. A few surreal incidents later — including a mysterious car accident that leaves him talking to a deer — and Ozzie begins to believe he might have had his own close encounter of the third kind.

For Cenac, who many know from his stint as a correspondent on “The Daily Show With Jon Stewart,” it’s his first time as a regular on a TV show.

“I felt like this was a show that could be driven by the characters and the relationships they have with each other,” says the stand-up comedian, actor and writer. “People automatically assume ‘drama’ when you say character-driven, something like ‘Fargo,’ ” he says, before adding, “but in a comedy like this, by staying small and not having to be focused on big broad jokes, we can get invested in the characters’ stories.”

Gasteyer was a regular on “Saturday Night Live” from 1996 to 2002, known for impressions of Martha Stewart and Celine Dion. She calls “People of Earth” “sort of a hybrid comedy that lives in a wack-a-doodle place, but stays grounded even though it’s about people who believe in aliens.”

The comedian-actress-singer, who has played a judge on “The Good Wife,” says she is often asked to play big characters with wigs and glasses. “But I love doing the kind of work on this show because it is much more observational comedy.”

Her character, Gina, had been a well-paid New York City therapist, but after experiencing a traumatic incident, she leaves the city to cofound the StarCrossed support group, which meets in a church basement in the little town of Beacon.

The show’s creator, David Jenkins, says he read an article about a real alien-abduction support group and found it interesting that those kind of groups actually exist.

“I thought it could be fun to focus on the people,” he said. So he did some research.

“It seems like they’re reasonably normal people,” says Jenkins. “They’re, like, realtors, and they have jobs, and they lose their keys in the couch. And I like the tension of that. That felt like a good place to start a show.”

The showrunner says he wrote the original script with Cenac in mind, though he had never met the comedian.

“Then this actually happened, which is freakish and strange,” says Jenkins.

The ensemble comedy is part of a recent trend to focus on people in bizarre situations, like “Last Man on Earth” — which takes place after a plague — and “The Good Place” — in the afterlife. Greg Daniels (“King of the Hill,” “The Office” and “Parks and Recreation”) and Conan O’Brien are executive producers.

The cast includes Oscar Nunez (“The Office”) as Father Doug, the lonely priest; Tracee Chimo as Chelsea, a married woman struggling with monogamy; Da’Vine Joy Randolph as Yvonne, a postal worker; and Alice Wetterlund as Kelly, a too-cool-for-school type who really doesn’t have much going for her other than the alien-abduction group.

Like the other new comedies, there is a slightly dark side to “People of Earth.” The idea of being abducted — whether you believe it or not — is traumatizing to these people. So all of the characters in the show are trying to work out their issues in real ways.

“You get the sense of struggle from these characters,” Cenac says, “and it’s not just making jokes at their expense.”

“They’re not written as a bunch of tinfoil hats,” adds Gasteyer.

Cenac, who notes he is not a trained actor, says it is great for him to work with a cast “who come from such different roads.” Wetterland, like him, does stand-up, while Chimo and others came from stage. Luka Jones plays the wacky resident “alienologist” of the group, but the actor has a doctorate in philosophy from USC.

“Right now, I’m just a guy who is hoping to hit his mark,” Cenac says. “Hopefully, by the time the series ends, I can do my lines in French. I think that’s the goal right? We have to do our own translation.”

So far, Cenac says he doesn’t know any aliens. “And no one has said anything to me that might lead me to believe that there are aliens,” he says.

“But Anna and I have talked about this,” says Cenac. “People ask us if we think there is life out there. I think it is an arrogant position on our part to assume that we are the only things in the universe.”

“Or naïve,” adds Gasteyer.

“Or instead, we are an anomaly,” speculates Cenac. “Which makes us the universe’s tumor.”

People of Earth
When: First two episodes premiere at 9 p.m. Monday.
Where: TBS.


http://www.dailynews.com/arts-and-en...lose-encounter
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TV Notes (Broadcast)
Here’s the Real Story Behind Raven-Symone’s Exit on ‘The View’
By Scott Collins and Tony Maglio, TheWrap.com

Raven-Symone’s exit from “The View” was probably one of the worst-kept secrets in daytime TV.

ABC officially announced Thursday that the former “That’s So Raven” star will leave the talk show sometime later this year to return to the Disney Channel for a “Raven” reboot.

But Raven’s departure had been rumored for months, as “The View” continues to struggle with musical chairs at the hosting table. Raven, much like former cohost Rosie Perez, has attracted widespread scorn for some of her offhand comments. In Raven’s case, that included remarking that she wouldn’t hire someone with a “ghetto name,” which led to an online petition for her removal.

For now, producers have no plans to replace Raven-Symone, according to a person familiar with the situation. That’s because earlier this year, the show tapped Sara Raines of “Good Morning America” and former CNN regular Sunny Hostin as fill-ins. They will join an existing panel of Whoopi Goldberg, Joy Behar, Candace Cameron Bure and Paula Faris. Jedidiah Bila, the program’s resident libertarian, was recently converted from guest host to co-host as well.

That doesn’t mean the drama is over at “The View,” of course. Goldberg earlier this year signed on for only one additional season, through next summer, and has made on-and-off noises about leaving. Behar, the only original panelist remaining, was summoned out of retirement last year to help bring some stability to the show.

A new direction might now be needed. “The View” was flat in total viewers, with an average of 2.7 million tuning for last season. But the program slipped 8 percent in its core demographic of women aged 18 to 49.

http://www.thewrap.com/heres-whos-go...e-on-the-view/
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TV Review (Cable)
David Letterman turns global warming reporter for NatGeo
By Verne Gay, Newsday - Oct. 30, 2016

THE SHOW ‘Years of Living Dangerously’

WHEN | WHERE Premieres Sunday at 8 p.m. on National Geographic Channel

WHAT IT'S ABOUT
Last winter, David Letterman and a production crew went to the Indian state of Uttar Pradesh — population 204 million — to produce a story on India’s growing reliance on coal and attempts to also expand renewable energy. He interviews, among others, the prime minister of India, Narendra Modi, who says that India needs international assistance if his renewable energy mandate is to be achieved. Meanwhile, Letterman learns of a plan to bring electricity to 300 million Indians currently without power. In this second-season premiere of NatGeo’s series on climate change, Cecily Strong of “Saturday Night Live” also reports on solar energy in Nevada.

This is Letterman’s first official TV project since leaving “Late Show.”

MY SAY A year and change ago, David Letterman fell off the grid, then grew a flowing white beard which indicated he had fallen a little further off the grid, and finally flew to remote parts of India to report on — guesses? any guesses? — the grid.

Which simply goes to prove: Second acts can sometimes have their own confoundingly strange and unpredictable logic. That Letterman’s did almost makes perfect sense.

Not that this is full-fledged “second act” just yet. For all we — or Letterman — know, this could just be the intermission. But in a recent interview with The New York Times, he indicated he wants to do more pedagogic-like TV in this vein, so let’s go ahead and call this the likely beginning of the second act.

As a neophyte reporter he brings the right — if not yet fully sharpened — tools to the task. He’s curious, lively, compassionate and displays the familiar and well-practiced skill of wasting no one’s time by getting straight to the point. After patiently listening to the prime minister of India cite Gandhi in explaining why it is his spiritual duty to bring renewable energy to India, Dave asks: “Does it bother you spiritually that coal will be used to electrify the entire country?”

Walking through the almost surreally packed streets of an Uttar Pradesh city, Letterman seems to float above the fray — for all appearances, a celebrity sadhu, or holy man, with flowing beard and quips as opposed to epigrams. “Could you go a little faster?” he jokes to his rickshaw driver, who is momentarily startled by his hirsute passenger.

Later, talking to a child by candlelight in a town without electricity, the quips are gone. Instead: “I never imagine kids breathing in toxic fumes just to do their homework. But there are 300 million people here with no access to electricity.”

For his first venture into nonfiction TV, Letterman has tackled among the biggest of subjects — third-world energy consumption — but this particular subject is an elephant. The economic, political, geopolitical and demographic components of Indian energy policy aren’t touched upon, and there’s no mention of wind or hydroelectric power. Dave does seem to capture the essence of India’s Catch-22 — the country’s decaying electric grid “bleeds” out so much power, that more coal burning is needed just to keep pace — but you may begin to wonder if that’s the whole story, or simply only the tail of the elephant.

NatGeo’s “Years of Living Dangerously” is a variant of citizen journalism known as celebrity-citizen journalism — including Strong, other “reporters” this season will include Jack Black, Gisele Bündchen, Ty Burrell and Joshua Jackson. No one’s expecting a treatise when they watch this, but rather an earnest, eye-level, passionate and human — or at least human-celebrity — glance at a vitally important issue, global warming.

So, mission accomplished, Dave. Now, what’s next?

BOTTOM LINE Former late-night talk show guy goes to India, reports on global warming, cracks occasional jokes. Also makes a plausible case for a second career act.

GRADE: B+


http://www.newsday.com/entertainment...geo-1.12527253
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TV Notes
On The Air Tonight
SUNDAY Network/Cable Primetime Options
(All shows are in HD unless noted; start times are ET)
From Zap2It.com Schedule Grid - Oct. 30, 2016

ABC:
7PM - America's Funniest Home Videos
8PM - Once Upon A Time
9PM - Secrets and Lies
10PM - Quantico

CBS:
7PM - 60 Minutes
8PM - NCIS: Los Angeles
9PM - Madam Secretary
10PM - Elementary

NBC:
7PM - Football Night in America (LIVE)
8:20PM - Sunday Night Football: Philadelphia Eagles at Dallas Cowboys (LIVE)

FOX:
7PM - NFL Football: Regional Action (continued from 4:45PM, LIVE)
7:30PM - The OT (LIVE)
8PM - 2016 World Series, Game 5: Cleveland Indians at Chicago Cubs (LIVE)

PBS: (check your local listing for starting time/programming)
8PM - The Durrells in Corfu on Masterpiece
9PM - Poldark on Masterpiece: Episode Five
10PM - Indian Summers on Masterpiece

UNIVISION:
7PM - Sal y Pimienta
8PM - La Banda (120 min.)
10PM - Aquí y Ahora

TELEMUNDO:
6PM - Hasta que te Conocí: En la voz de Juan Gabriel
8PM - Hasta que te Conocí
(R)
9PM - Hasta que te Conocí
10PM - Don Francisco Te Invita

AMC:
9PM: The Walking Dead (66 min.)
10:06PM - The Talking Dead
* * * *
12:10AM - Comic Book Men (The Stash sponsors blood drive with horror queen Elvira; the joys of "Mystery Science Theater 3000'')

HBO:
9PM - Westworld
10PM - Divorce (31 min.)
10:31PM - Insecure
* * * *
11PM - Last Week Tonight with John Oliver

SHOWTIME:
8PM - The Circus: Inside the Greatest Political Show on Earth
8:30PM - The Circus: Inside the Greatest Political Show on Earth
(R)
9PM - Shameless
10PM - Masters of Sex

STARZ:
8PM - Ash vs. Evil Dead
8:30PM - Blunt Talk


http://tvschedule.zap2it.com/tvlisti...aid=tvschedule
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TV Sports/Nielsen Overnights (Broadcast)
World Series Dips in Game 4, Still Pacing as Best in 7 Years
By Michael O'Connell, The Hollywood Reporter's 'Live Feed' Blog - Oct. 30, 2016

For Fox, Game 5 of the World Series faces its biggest ratings competition yet. Coverage has to face both Sunday Night Football on NBC and AMC's The Walking Dead.

http://www.hollywoodreporter.com/liv...7-years-942345

Well, people might confuse baseball with The Walking Dead due to the large number of background characters standing and shuffling with overly slow movements.
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I can guarantee with 100% certainty that has nothing to do with it.


What it has to do with is, unlike in season's past, they've always needed replacement shows to plug in empty holes caused by cancellations. They haven't needed that this season so far.
I think you're wrong. Shorter seasons have been much discussed in content industry. Not a very good paycheck if your 22 episode gets canceled 7 episodes in because audiences found it droll.

Do you even watch any of the really superb British and European produced shows that are at most 8 episodes?
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I think you're wrong. Shorter seasons have been much discussed in content industry. Not a very good paycheck if your 22 episode gets canceled 7 episodes in because audiences found it droll.

Do you even watch any of the really superb British and European produced shows that are at most 8 episodes?
Yes I do and I've read yours and other poster's comments where you've repeated this mantra.


It's not at all true in this case. The US networks don't care one bit what the British do, other than when they remake it with twice the number of episodes for 'Mericans. This is a case where they thought something would be cancelled by now (like usually happens), but now they don't have room for as many episodes and still get the season finale in by the summer sweeps period.


The fact is, the financing for US series is based around two things:


1) Amortizing the cost of the show over multiple episodes
2) Syndication of repeats


Both of those benefit from more episodes, which means the bean counters will say makes more sense. Why make multiple series for fewer episodes when your per-episode cost is less by doing one for a longer season?


That's how Hollywood works. They don't give a crap about tight storylines and artistic intent. It's about money and having a new episode available for sweeps and having a property they can sell to cable within two seasons.


By the way: I personally hate the 8-10 episode model. I hate having to wait over a freaking year for a show to come back after it's over in a blink. It sucks. I've stopped watching shows because I've waited so long I stop missing them. I hate this idea that less is somehow more. A well written show can have 18 great episodes just as easily as a poorly written one can have 8-10 terrible ones.

In addition, not every British show is TV gold, either. They have plenty of the same detective show with the main character that is quirky or horrible for others to get along with. Then there's all the period costume dramas that they produce because someone's castle or mansion in danger of foreclosure is up for rent...
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Everything should be opt-in, not opt out:


- No more calling people unless they want to be called. It's my phone. I'll give you the number if I want you to call me. That includes the vinyl siding company that kept calling me when I lived in an apartment building.....made of brick.
- Stop appending crap software onto downloads. I'm looking square at you Adobe, who should ashamed for engaging in that BS. I don't want to install McAfee on my system. I don't want your toolbar. I don't want to make your web page my home page. I don't want Ask.com on my system.
- I do not want to receive emails from "a carefully selected set of offer providers". I don't want your newsletter. I don't want to be sent special offers and information about new products.
- I don't want to complete a survey (you don't want my answers if you bother me to do so). I don't want to submit a review.
- I don't want to have to uncheck options in reverse order to avoid having stuff install themselves even when I thought I opted out.

You forgot one:

- I don't want your rewards card and I don't want the high pressure sales pitch.
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You forgot one:

- I don't want your rewards card and I don't want the high pressure sales pitch.
I don't object to reward cards that get me free stuff after purchase, like gas discounts and such. There's no other way to track that stuff, so I'll accept that trade-off.


What I hate are places that require the discount card to get the posted sales price. Sorry, but it's a store that is open to the public. If I can come into the store, I should be able to get the price posted on the shelf whether I have the card or not. If you won't do that, I'll shop somewhere that I can. It's one thing to offer additional discounts and freebees based on past purchases. It's another thing completely to only offer sale prices to those with the store spy card.


Unless you're a membership-based business, like Sam's Club or BJ's, you should have to offer the same posted sales to all customers who enter your store.


I will not give you free marketing data just because you say I have to.


I also hate rebates. Either the product is on sale or it's not. I'm not going to pay tax on a total purchase, fill out a form, pay for postage, then wait for a check I have to deposit just so you can track how successful the offer was. At least Staples is starting to do "instant rebates" instead of mail in rebates, but rebates should really be outlawed based on the amount of fraudulent denials of rebates to customers that have been found to happen. Many of these retail chains deliberately refuse a percentage of rebates even when properly submitted just on the idea that most of those people won't bother to re-submit them.


Rebates along with "extended warranties" are two ways stores generate free revenue based on the hope most people will never submit a claim.


Edit: to bring this back to HDTV, I really hate having to pay an "HD Service Fee". That may have been acceptable when few channels were HD, but now almost all of them are. HDTV is TV. If you want to charge a fee, charge the luddites still watch everything in SD for the cost of converting the HD to SD.
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Yes I do and I've read yours and other poster's comments where you've repeated this mantra.


It's not at all true in this case. The US networks don't care one bit what the British do, other than when they remake it with twice the number of episodes for 'Mericans. This is a case where they thought something would be cancelled by now (like usually happens), but now they don't have room for as many episodes and still get the season finale in by the summer sweeps period.


The fact is, the financing for US series is based around two things:


1) Amortizing the cost of the show over multiple episodes
2) Syndication of repeats


Both of those benefit from more episodes, which means the bean counters will say makes more sense. Why make multiple series for fewer episodes when your per-episode cost is less by doing one for a longer season?


That's how Hollywood works. They don't give a crap about tight storylines and artistic intent. It's about money and having a new episode available for sweeps and having a property they can sell to cable within two seasons.


By the way: I personally hate the 8-10 episode model. I hate having to wait over a freaking year for a show to come back after it's over in a blink. It sucks. I've stopped watching shows because I've waited so long I stop missing them. I hate this idea that less is somehow more. A well written show can have 18 great episodes just as easily as a poorly written one can have 8-10 terrible ones.

In addition, not every British show is TV gold, either. They have plenty of the same detective show with the main character that is quirky or horrible for others to get along with. Then there's all the period costume dramas that they produce because someone's castle or mansion in danger of foreclosure is up for rent...
We saw similar lines of reasoning that the streaming phenomena wasn't going to go anywhere.

BTW, I notice that fewer and fewer "network" shows are being discussed in this section than in the past.
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post #12477 of 30393 Old 10-30-2016, 11:19 AM
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We saw similar lines of reasoning that the streaming phenomena wasn't going to go anywhere.

BTW, I notice that fewer and fewer "network" shows are being discussed in this section than in the past.

Streaming is a different animal. You're talking about a subscription service similar to HBO where that original content is devised to draw people in for it, hoping they'll stay for the other stuff on the menu when the original shows aren't in production. In many cases, those shows are "loss leaders" for those outfits, like the Kindle hardware is for Amazon (which hopes you'll want to fill it with books, music and movies as well as shop for other products).


Further, most of those shows don't get sold to syndicators, so they don't need as many episodes to make them an appealing buy for cable.


As far as the rest, I think it has to do with the amount of derivative procedurals on the broadcast channels compared to the more niche shows cable and streaming services produce, despite having smaller audiences as a result. There's a perception that cable or streaming services get the eyeballs due to "edgy" dramas, but plenty of non-edgy shows get all kinds of buzz and prestige for an outlet despite being perfect acceptable for broadcast TV.


The problem is, a show like Mad Men, Dark Matter, Mr. Robot and Stranger Things would likely get far too few viewers on a broadcast network to stay on the air.


Having said that, I do think the broadcast nets are learning one lesson: the quick cancellation drives away viewers. A few seasons ago when cancelling after only a few episodes was at epidemic levels, cable and streaming services jumped in with shows they gave plenty of time for viewers to find them - and accepted a small audience that would remain loyal. At this point, networks would be better off having a smaller group of fans than a fading number of casual viewers.


Ask the producers of Chuck what they prefer.
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Streaming is a different animal. You're talking about a subscription service similar to HBO where that original content is devised to draw people in for it, hoping they'll stay for the other stuff on the menu when the original shows aren't in production. In many cases, those shows are "loss leaders" for those outfits, like the Kindle hardware is for Amazon (which hopes you'll want to fill it with books, music and movies as well as shop for other products).


Further, most of those shows don't get sold to syndicators, so they don't need as many episodes to make them an appealing buy for cable.


As far as the rest, I think it has to do with the amount of derivative procedurals on the broadcast channels compared to the more niche shows cable and streaming services produce, despite having smaller audiences as a result. There's a perception that cable or streaming services get the eyeballs due to "edgy" dramas, but plenty of non-edgy shows get all kinds of buzz and prestige for an outlet despite being perfect acceptable for broadcast TV.


The problem is, a show like Mad Men, Dark Matter, Mr. Robot and Stranger Things would likely get far too few viewers on a broadcast network to stay on the air.


Having said that, I do think the broadcast nets are learning one lesson: the quick cancellation drives away viewers. A few seasons ago when cancelling after only a few episodes was at epidemic levels, cable and streaming services jumped in with shows they gave plenty of time for viewers to find them - and accepted a small audience that would remain loyal. At this point, networks would be better off having a smaller group of fans than a fading number of casual viewers.


Ask the producers of Chuck what they prefer.
I've been in the entertainment industry all of my life in different venues including television. Those who think out-of-the-box tend to win and those who rest on their laurels lose. I get that some folks here have the bread buttered by the conventional industry but things are moving on.
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Unless you're a membership-based business, like Sam's Club or BJ's, you should have to offer the same posted sales to all customers who enter your store.


I will not give you free marketing data just because you say I have to.


That's one thing I liked about the old days of cable TV. Everybody paid the same price. It was take it or leave it. None of this haggling nonsense.

The older I get, the less I am willing to tolerate malarkey. My current beef is against stores that mislabel the prices on the shelf tags or don't enter the discounts into the registers. I think some of it is deliberate negligence.

I also refuse to use the self service registers at supermarkets. That's just depriving some cashier of a job.
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post #12480 of 30393 Old 10-31-2016, 06:07 AM - Thread Starter
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TV/Business Notes (Analysis)
Moffett: DirecTV ‘Playing a Dangerous Game’ With OTT-TV Service
By Jeff Baumgartner, Multichannel News

AT&T has set a baseline price of $35 per month for a 100-plus channel OTT-TV service, DirecTV Now, industry analysts are already starting to poke holes in the service’s initial business case.

DirecTV Now hasn’t released the channel lineup for the new service, but a “good estimate” of the monthly programming expense for it is “around $34,” Craig Moffett, analyst at MoffettNathanson, wrote in a research note issued Wednesday.

“That would leave DirecTV’s gross margin per subscriber at around $1. Yes, $1. DirecTV’s margin after SAC [subscriber acquisition cost], customer service, transport, computing and storage costs would be negative,” Moffett explained, noting that DirecTV Now’s initial foray, based on available estimates, is akin to the “Entertainment” package for regular DirecTV, which includes ESPN.

He noted that those estimates also assume a price per channel that is on par with the regular DirecTV service, but wondered if the company is paying a premium for the digital rights.

“On the pure video product, DirecTV Now appears willing to make little-to-no money or even lose money,” BTIG analyst Richard Greenfield surmised in a blog post (free registration required) on this same general topic issued on Friday (October 28).

Moffett said it’s his understanding that DirecTV Now has deals in place with all major content owners with the exception of CBS, with “some contention” on whether Fox and AT&T have reached a deal.

“Excluding CBS and Fox, content costs according to [SNL] Kagan would be in the $26 range, again assuming that there are no premiums associated with the additional rights afforded the new delivery platform.”

Meanwhile, he estimates that DirecTV subscribers typically command a $60 video gross margin, so the company will need to be careful not to nip at its traditional pay TV product.

“AT&T’s aim is, of course, to minimize cannibalization of existing subscribers (and minimize piracy and password sharing), so the new service will be limited to a single stream, reducing its attractiveness as a substitute for linear packages that serve whole household,” Moffett explained.

Greenfield noted that he expected, prior to Stephenson’s announcement this week, that the DirecTV Now service would cost at least $60 per month.

With that in mind, he expects $35 per month to be the “base offering” for DirecTV Now, with multiple tiers coming that provide a more extensive channel line-up and access to other features, such as a cloud DVR, among the possibilities.

Using Sling TV as a “very rough proxy” with OTT subscriber acquisition costs and costs tied to transport, storage and computing, Moffett said an OTT-TV service would need to be priced at about $45 above content costs to achieve true economic indifference between DirecTV’s regular satellite TV service and an OTT subscriber at the unit level.

“That is, DirecTV would have to price their DirecTV Now product at around $80,” Moffett wrote, noting later that the OTT-TV service would limit cannibalization in part because it is not a realistic substitute for the full traditional DirecTV service.

Back to Greenfield, the analyst said he was “highly skeptical” that a $60-plus/month DirecTV Now service with spotty live local TV coverage, no CBS and no cloud DVR would have much of an impact on the pay TV industry. But the newly revealed price point changes that outlook a bit.

“At only $35 per month, with a relatively full suite of cable networks (albeit still spotty broadcast TV coverage and no RSNs in the base offering), we expect far greater consumer interest in DirecTV Now,” Greenfield said. “Not only will DirecTV Now cannibalize a portion of existing DirecTV satellite-based subscribers, it will take video subscribers away from DirecTV’s competitors.”

Moffett, meanwhile, thinks that AT&T’s approach poses a possible danger to its pay TV business.

“Like running with scissors, it probably won’t be life threatening – the number of subscribers they will cannibalize won’t be large enough to inflict a mortal wound to their own business, and the single stream limitation and inherent drawbacks of an OTT service will similarly limit the damage to the Pay TV ecosystem overall. Still, we believe DirecTV is playing a dangerous game.”

Though Comcast has repeatedly said that the economics of an OTT-TV service don’t add up, Greenfield still believes that a virtual MVPD offering from Hulu expected early next year, plus DirecTV Now’s super-aggressive pricing, will force Comcast’s hand to offer a national pay TV service.

“We believe Comcast has been resisting launching nationwide as it does not believe the coming wave of vMVPDs will have a material impact on the multichannel video landscape,” Greenfield wrote. “However, with DirecTV Now priced at just $35, we find it hard to believe the product will not have a meaningful detrimental impact of Comcast and other MVPDs.”

http://www.multichannel.com/news/con...service/408740
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